|
Hey, just found this thread! Last time I saw a film-related thread, there was still a filmmaking forum! I'm a commercial editor in LA, been doing it for a while, I'll try and answer questions when i can but I actually have one of my own; hopefully someone can help. I'm working with some footage shot 1080p 23.98psf (came from AVCHD on p2 cards from some sort of panasonic). Basically, the deliverables format specifies 1080i 59.94. I asked if they could accept a 1080p 24pn QT file that they can perform a pull down on, and they said they would rather I do the pulldown and QC it on my end so that they don't have to worry about it. The problem is, I'm finishing this project remotely, on a laptop with no monitor capable of viewing at 1080i 59.94, so I don't know how to check my work on this. My question is, knowing that I can't really QC it, is it better to convert my FCP timeline to 1080i/59.94, or to leave it at 1080/23.98psf and make the conversion at the compressor level? Or even better, is there a third option that magically doesn't make a pull down look like poo poo?
|
#
¿
Dec 29, 2011 23:24
|
|
|
|
| # ¿ Apr 29, 2024 03:12 |
|
|
Gunjin posted:I say make the client pay to have it run through a Teranex, if not do it in Compressor, the quality will be better than doing it in FCP. Yeah, let's just assume that even though this is a broadcast promo for a multi-billion dollar corporation, they don't care about that. My only issue running through compressor actually is that since I have to deliver it for the online edit/sound mix, I have to deliver a QT ref with timecode burn-in, so I have to take the sequence to 59.94 in final cut itself. I've already insisted that delivering in psf is a better option but they aren't hearing it. I guess what I could do is output an uncompressed 1080psf, throw it into AE, do the pulldown, (or ditto with compressor), then pull it back into FCP at 59.94 for the QT ref.
|
|
#
¿
Dec 30, 2011 18:08
|
|
|
In my experience the license keys from Mac to PC are totally different and don't cross platforms.
|
|
#
¿
Jan 3, 2012 21:47
|
|
|
How much RAM/processor power are you allowing AE to use? I'm using the same laptop as you and mine flies through motion tracking. I have no way to illustrate this but in AE, you know how there's two boxes and a cross hair if you're tracking one point? The cross hair is where the tracking point will be set, the first box is the area AE is using as its tracking point, and the third square is the area in which AE will search for the smaller square in each frame. The size of the third square is the biggest factor on how long it'll take your system to render each frame, so make it as small as possible without losing your track in the motion. You might know all this already though. And it sounds like there's probably some other underlying issue.
|
|
#
¿
Jan 8, 2012 09:06
|
|
|
Debug Mode makes an editor called Wax that's free and works very similarly to Windows Movie Maker if that's what you're familiar with. It does compositing, but I don't know how well. (Although usually the quality of the key is more dependent on how you lit it and what kind of camera you shot it with.) I also don't think it works with Windows 7, so I hope that's not what you have. Hope it helps, good luck. 
|
|
#
¿
Jan 15, 2012 07:41
|
|
|
Teenage Fansub posted:Anyone know what to do to get this to load in as a single file? Are you sure this isn't something you need to accomplish with camera-based software? I know that when I was trying to import Sony clips that spanned cards I had to use their proprietary software before I brought it into an editing program.
|
|
#
¿
Mar 30, 2012 23:29
|
|
|
I have a trackball and I love it, but I'm kind of old school. I actually switch between the trackball, a magic track pad and my wacom randomly to get rid of the repetitive motion. It's not the best option for you if you don't spend most of your time on the keyboard though.
|
|
#
¿
Apr 10, 2012 03:34
|
|
|
I've got my tablet mapped so gestures do various shortcut things but in general I agree, tablets aren't really great for editing. I mostly keep it around in case I need to do a mask or roto work. I edit so much in the field that I've become really quick with the built in macbook pro trackpad, but that was born out of necessity more than anything. I'll have to look into those Kensington trackballs, I have an ancient 3-button logitech but I love it.
|
|
#
¿
Apr 10, 2012 07:31
|
|
|
Well...Davinci Resolve isn't FREE, the lite version is, and it's not quite as powerful as color is, intentionally obviously. I love my Although Resolve is pretty great, without the full control surface it feels like fake DaVinci.
|
|
#
¿
May 8, 2012 05:50
|
|
|
Most projections and modern TVs display at least to action safe, so it'll probably be fine even at the full frame one. If not, that's kind of the submitters fault for not conforming to guidelines, isn't it? You went above and beyond what I would've done, at least.
|
|
#
¿
May 22, 2012 01:44
|
|
|
You're making the building shaped mask on the sky layer, correct? You can use motion tracker in after effects to track the position of the building. Find a small point with clear delineation between two areas, like a light window on a dark part of the building or something. You track that motion and after effects provides you with a series of keyframes that follow your track point. You can then apply those to the position of your sky layer, and use the anchor point to adjust your sky layer so the mask meets the building properly. You're going to want your sky background to anchor to your building rather than just floating the mask around, otherwise it will look like your buildings are floating in mid-air.
|
|
#
¿
May 22, 2012 22:56
|
|
|
OH gotcha. I thought you meant there was just enough camera wobble to necessitate a track but you hadn't as of yet done one. You'll want your track to compensate for position, rotation and scale. If you can't figure out mocha, this can be done in AE with a corner pin track but since mocha tracks actual shapes it's more ideal for what you're doing. Good luck.
|
|
#
¿
May 22, 2012 23:31
|
|
|
http://www.amazon.com/The-Technique-Digital-Color-Correction/dp/0240809904/ref=sr_1_1?ie=UTF8&qid=1338005503&sr=8-1 It can't teach you how to have an eye for what looks good, but it can teach you pretty much everything else.
|
|
#
¿
May 26, 2012 05:12
|
|
|
It's only a 4% difference, and I hate to admit it but that's pretty much how we do it. But I can see how that might be an issue for you. There's not any way you're able to actually shoot in PAL, is there? That's the easiest to do since you can just drop 1 frame out per second. http://www.nattress.com/Products/standardsconversion/standardsconversion.htm That program does the best quality you can get outside of booking an actual Teranex (which would by far be the fastest/best quality since it's realtime), though it's a bit of a pain to figure out. It's very fast and is excellent quality.
|
|
#
¿
Jun 13, 2012 20:48
|
|
|
At what point do I get to tell a production they have to reshoot something? It's a super low budget pilot, but they need this shopping cart to explode behind two people walking away from it. I said, no problem, shoot them as an element on greenscreen walking away, then shoot the plate of the shopping cart rolling into the gas cans. I got an email today, "On our garage sale budget we couldn't afford a greenscreen. but we did shoot it locked down." What the poo poo? There's no easy way to do this I'm not aware of that doesn't involve a greenscreen, is there? Just a shitload of roto now? How do I say "that doesn't work, you have to reshoot it?" Just say exactly that? I'm not good at the diplomatic side of this.
|
|
#
¿
Jun 23, 2012 03:07
|
|
|
Like Fishopolis said, ideally you shoot both elements in the same location, with the same lens/lighting/focus, and they were running, so It would have had to have been at least a 20x20 ft greenscreen, so it would've been, well, something. There's no cost/benefit because it's a flat rate post job so it doesn't cost them anything extra if it takes me two days to roto the shot. I basically told them that the way they shot it made it impossible for someone like me to do, and if they'd like, I can put them in touch with a nuke/flame guy who could give them a quote on the shot. Suddenly they were figuring out another way to shoot it (still without a greenscreen but whatever). The funny thing is, this is a reasonably sized pilot with several recognizable people in it. Comedy, it's not like 24 or anything, but still. I should've offered to front the greenscreen rental for an exec. prod. credit. I'm willing to bet it was more the act of renting 20' pipe, corners, ears, a couple beefy stands and some sand/tie downs and getting them to set was more the hindrance than the $300 it would've cost to rent it.
|
|
#
¿
Jun 23, 2012 07:39
|
|
|
Personal friends, and it's an unsolicited pilot. And it's definitely not union. Don't get me wrong, it is a SUPER low budget thing. Passion project for some well-connected people that are good to be on the owed-favor-side of. And almost everything is spelled out very clearly. Except for this explosion, which I told them wouldn't be a big deal to do if they did what I said. Which they didn't. My deliverable is a rough cut by a specified date, and two days of revisions before picture lock, at which time it leaves my hands forever. Anything else is extra.
|
|
#
¿
Jun 24, 2012 04:38
|
|
|
quote:As best as I can get it still has a weird screen pulsating effect for a few seconds, almost like a rolling shutter jiggle or something. Any tips? This is, more than likely, the best you will be able to get it. That pulsing "rolling shutter" jiggle thing is likely actually motion blur from the camera moving so rapidly. You can stabilize the movement of the camera very well, but you likely will not be able to compensate for the motion blur cause by rapid movement of the camera. Just FYI. You are welcome to continue trying other options, obviously, I've just had the same problems myself.
|
|
#
¿
Jul 11, 2012 19:40
|
|
|
Is anyone aware of anyone that's compiled any sort of "smart bin" esque code for FCP7? I just want music and GFX from two particular folders to automatically get loaded into my project. https://developer.apple.com/library/mac/#samplecode/MovieAssembler/Introduction/Intro.html Based on that, the ability has been there since 5, but I don't know how to parlay that into an actual result.
|
|
#
¿
Jul 18, 2012 05:24
|
|
|
It's probably willful ignorance, and the notion that there's a astronomically low chance of anything ever coming of it. Have a look at someone's wedding video someday and count the copyright infringement. You'll probably need to use toes.
|
|
#
¿
Jul 31, 2012 07:57
|
|
|
CaptainViolence posted:OMF/AAF SPECS OMFs are basically XMLs for Protools, yes. You do export it seperately. They bundle all of the sound files as separate clips and arranges them in tracks just like you have them in your Premiere timeline. Handles are how much additional media you want to include with each clip. if you set the handles to 5 seconds, there will be 2.5 seconds at the front and 2.5 seconds at the end of every sound clip. This enables the sound editor some leeway to correct mistakes, match room tone, etc. quote:QUICKTIME SPECS DX = dialogue FX/MX = sound fx/music for the two pop, you should adjust the starting time of your sequence so that the first frame of your movie falls on 01:00:00:00. Your two-pop will fall exactly two seconds before this, on 00:59:58:00. Often you will run 10-30 seconds of color bars, followed by a 5-10 second slate, followed by a 5 second countdown that ends on the two pop (the 2,1 aren't shown if you do this). R1 = Reel 1 R2 = Reel 2 OMFs can't be larger than 2gb, so if you're cutting a feature, chances are you'll have to split the movie up into reels, generally less than an hour long. so your second reel would start at 02:00:00:00 with a 2-pop at 01:59:58:00. quote:BURN IN's Yes, you will generate a timecode that matches your sequence timecode (starting at 01:00:00:00). This will help with spotting sessions, maintaining sync and many other things. I don't know what he means by name and video version, but I would put his name and [name of movie] [version #], meaning what ever cut you're on. yeah old school guys still ask for the tc burn in to be in the black even though it's usually not there anymore. put it as high as possible and put a black matte behind just the timecode so it's easy to read. quote:EDL's Usually EDLs aren't necessary if the OMFs work for the sound guy. Is this coming from the sound guy or is there also color correction happening? EDLs are archaic, so they're really complicated to get outputted correctly. quote:GUIDE TRACKS Guide tracks are just isolated audio channels. So he wants an AIFF export of just the dialogue, with the 2-pop as a clear starting point, an AIFF export of just the music, etc. etc. Hope this helps. I'll get into EDLs if necessary, but it's a pain in the rear end.
|
|
#
¿
Sep 1, 2012 05:18
|
|
|
no problem. I think I have everything forums related, so don't worry about it. You're great for asking instead of pretending you know like a lot of people in your position would. Actually, looking back over your post, he probably wants EDLs so that he has access to the source audio files you used, which I can see being important. If he definitely needs those, let me know and I can probably walk you through it (generally the handles in an OMF contain enough information that he won't need to go back to the source files.)
|
|
#
¿
Sep 1, 2012 05:39
|
|
|
chumpchous posted:Does anyone have any recommendations for books on color correction? I'm not a beginner but I'd like to improve. I currently have this one http://www.amazon.com/Color-Correct...olor+correction on order. Any others? I rather like "The Art and Technique of Digital Color Correction" by Steve Hullfish. Even though it's a few years old, it really isn't outdated at all because it speaks more to the, well, art and technique rather than the program functions.
|
|
#
¿
Sep 30, 2012 00:27
|
|
|
Yep. Welcome to FCP7. Although one thing I would check is that your sequence settings match your footage settings. FCP is different from MC in that stuff isn't conformed on input to a native codec so if you set your sequence compressor to H.264 or something retarded, you'll have to render even the most basic poo poo. Prorez 422 is native to FCP though, so you shouldn't be having to render THAT much.
|
|
#
¿
Nov 2, 2012 18:57
|
|
|
After having to do thousands of ripomatics for commercial pitches that rely on pulling footage from vimeo/youtube/wherever, I've downloaded and purchased a veritable shitload of software to help me with the task. It all sucks. Except iSkySoft iTube Studio. It's $30, and it's awesome. It even installs extensions for one-click downloads to all your browsers, and I have yet to throw a site at it that it hasn't been able to rip from, even proprietary production company websites that don't use a standard video hosting service. I'm not trying to sell anything, I just figured there were other people in my situation who would benefit from the knowledge. That said, are there any FREE resources that do something similar? keepvid and the such seem to only work on youtube, and even then it's sporadic.
|
|
#
¿
Mar 2, 2013 23:34
|
|
|
AA is for Quitters posted:What would be the best place for someone who's been entirely self-taught to start? Good resources? I've been plowing through the tutorials on adobe.com, but still produce things like https://www.youtube.com/watch?v=kLK5EF4JQMs (not my work, but since we air that I had it easily accessible.) which doesn't look bad, but it doesn't look....good, either. Everything I do just looks low-budget and I want it to not look low budget after I'm done rendering and recording back onto DV. So where would be the best place to learn that? Creative Cow is how I taught myself after effects. There's a massive number of tutorials for almost every possible situation you could imagine, and the forums are actually generally pretty helpful.
|
|
#
¿
Mar 21, 2013 21:33
|
|
|
If you happen to find one, I will buy you a vacation in Hawaii, with the amount of ripomatics I do.
|
|
#
¿
Apr 8, 2013 08:27
|
|
|
Is this an editorial reel? If so, it doesn't really demonstrate any sort of structural or editorial ability. I'm not a fan of showreels for editing anyway, nor are any of the people that have ever hired me (moderate exception being a faces reel if you've done a lot of recognizeable/celebrity stuff). If it is an editor reel, it's lacking in quantity of content. If you're going to be montagey with it, it needs to illustrate the scope of what you've worked on. If this is what you have, you'd probably be better served with a 15-20 second introduction set to music, followed by 3-4 30 second or so excerpts of things you've cut (dialogue scene, narrative montage scene, music video, doc-style, etc), followed by a 15-20 second musical outro. edit: grammar/clarity RaoulDuke12 fucked around with this message at 23:32 on May 28, 2013 |
|
#
¿
May 28, 2013 23:28
|
|
|
Do people actually hire assistant editors any more, or should I just expect all my projects from this point forward to be a hard drive with 2000+ unlabeled, untranscoded, unsynced shots?
|
|
#
¿
Aug 24, 2013 00:11
|
|
|
quote:Depends on the budget, I guess. Anything bigger than super low budget MOWs or direct to VOD features would have an assistant, at least in the city I work in. I have heard of a few shows releasing the assistant between production and final lock, though. I'm in LA cutting national level, broadcast commercials. Mostly doc-style stuff. Yeah. Started happening a couple years ago off and on. Now it seems to be standard practice. The bigger stuff I still get one, but that's the stuff where there's only like 14 shots anyway and I don't need one. RaoulDuke12 fucked around with this message at 05:37 on Aug 24, 2013 |
|
#
¿
Aug 24, 2013 05:35
|
|
|
Ziploc posted:And your right, but I can't for the life of me get something decent over 1080p resolution. Is there some plugin/export configuration I'm missing? It might not playback looking correctly on a monitor that doesn't have 4k worth of resolution, since it's scaling and you're essentially looking at it 50% zoom. Try taking your converted footage and throwing it into a 1080p timeline and see how it looks.
|
|
#
¿
Oct 10, 2013 11:41
|
|
|
Is the only way to put a hyperlink in a video for it to be a flash movie?
|
|
#
¿
Nov 21, 2013 22:07
|
|
|
Cyne posted:I might keep the old MBP around for offline editing and grab the iMac for finishing work. That sentence is blowing my mind.
|
|
#
¿
Dec 5, 2013 08:47
|
|
|
No, you're right, it's just historically, iMacs would never be used "for finishing work." In other news, I just sent this email to my boss: "I'e been looking for quirky, well-shot inspirational videos for two hours now, and all I've found is "meet your first black girlfriend" and "sped up blowjobs by camille crimson". I feel like in the future, editors will be judged on their ability to find obscure wedding videography on vimeo. I need to take a few workshops." gently caress rips.
|
|
#
¿
Dec 6, 2013 10:53
|
|
|
You can do exactly that using Pluraleyes (http://www.redgiant.com/products/all/pluraleyes/), but you probably aren't going to like that price. At least you could probably get the academic discount.
|
|
#
¿
Dec 19, 2013 02:04
|
|
|
The mk3 does record time code now, but previous gen dslrs don't, yeah. I used magic bullet grinder to give it tod time code, it wasn't perfect or anything, but it helped at times.
|
|
#
¿
Dec 19, 2013 17:17
|
|
|
Meh he said he walked around popping off broll so the clips will stop and start at random intervals, I could see that being a really huge pain in the rear end. If for some reason he's in Los Angeles I would be happy to do it for him, it would take less than five minutes, but I doubt he is.
|
|
#
¿
Dec 20, 2013 23:08
|
|
|
GiveUpNed posted:Is there anyway to batch render, or do multiple jobs at once in FC7? Occasionally we have to render different bits of footage for broadcast (letterbox, or graphics), and being able to do multiple things at once would be handy. Any plugins? In addition to what everyone else said about compressor, there's also the export queue in FCP that you can set as many sequences to output at once and then leave it to go, but I'm not sure if that qualifies as doing multiple jobs "at once" since it's a queue in the very literally sense of the term. Or you can highlight the sequence you want rendered in the browser and render them all at once, though again, this is a queue, not simultaneous. If you're asking about background rendering while you're working, there's not anything that does that.
|
|
#
¿
Jan 16, 2014 22:46
|
|
|
Oh yeah totally, that was one of the big selling points of FCPX, I thought he was specifically limiting his request to FCP7 though.
|
|
#
¿
Jan 16, 2014 23:46
|
|
|
|
| # ¿ Apr 29, 2024 03:12 |
|
|
If you're still in school and you aren't doing coffee runs and nonsense paperwork, then you're getting great experience more than likely, taken advantage of or not. All internships take advantage of you, at least the ones that let you do actual work are giving you real world experience.
|
|
#
¿
Jan 17, 2014 00:42
|
|